宋人法書（一） 冊 宋徽宗書詩
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- 資料識別：
- 故書000243N000000001
- 資料類型：
- 書法
- 著作者：
- 宋徽宗
- 日期：
- TIME STAMP:26-3月 -08
- 格式：
- 本幅 33.2x63公分
- 語言：
- 漢文
- 關聯：
- 石渠寶笈續編（乾清宮），第一冊，頁445 &故宮書畫錄（卷三），第一冊，頁178-180&宋徽宗（1082-1151），姓趙名佶，神宗十一子。性好書畫稟賦極高，書畫無不精工，並善體物情，其花鳥畫描繪，刻劃入微，尤為擅長。主導北宋晚期畫院，影響中國繪畫至鉅。宋徽宗書法，別成一體，自號瘦金書。這種書風學自唐代薛稷，特徵是筆跡細瘦。在轉折處，將藏鋒露鋒運轉提頓痕跡，特別加強，即成瘦金書的基本筆畫架構。如寫一橫，起筆處是尖，先斜下，而後橫行，收筆留有一頓點，即是特點之一。本幅選自「宋人書冊」第一幅。&Emperor Hui-tsung（original name chao chi）was the eleventh son of emperor Shen-tsung（r.1068-1085）. Gifted in painting and calligraphy, his skill and technique were unmatched. He was particularly adept at observing the nature of objects, and his bird and flower paintings have a corresponding life-likeness. He was the moving force behind the late Northern Sung painting academy, and his influence was very great. In terms of calligraphy, Emperor Hui-tsung developed a style of his own, which was called "slender gold script." This kind of calligraphy script developed from the style the T'ang calligrapher Hsueh Chi（647-713）. Hui-tsung was especially noted for his slender yet forceful brush strokes. In the twists and bends of the brush strokes in this work by Hui-tsung, we can notice traces of lifting and hesitation of the brush which resulted from the use of exposed and concealed brushwork. This is evident in all of his extant works, and it forms the basic structure of the slender gold style. For example, in doing a horizontal stroke, the brush is initially pointed and held at a slight tilt before it is actually executed. The end of the stroke in involves hesitating and leaving a dot as one of the distinguishing features of this style. This is the first leaf in the album Sung-jen fa-shu I.&宋徽宗（1082-1151），姓趙名佶，神宗十一子。性好書畫稟賦極高，書畫無不精工，並善體物情，其花鳥畫描繪，刻劃入微，尤為擅長。主導北宋晚期畫院，影響中國繪畫至鉅。宋徽宗書法，別成一體，自號瘦金書。這種書風學自唐代薛稷，特徵是筆跡細瘦。在轉折處，將藏鋒露鋒運轉提頓痕跡，特別加強，即成瘦金書的基本筆畫架構。如寫一橫，起筆處是尖，先斜下，而後橫行，收筆留有一頓點，即是特點之一。本幅選自「宋人書冊」第一幅，以徽宗最著名的「瘦金體」寫成七言及五言詩一首，結體瘦勁挺拔、造型凝鍊而充滿張力。&Emperor Hui-tsung（original name chao chi）was the eleventh son of emperor Shen-tsung（r.1068-1085）. Gifted in painting and calligraphy, his skill and technique were unmatched. He was particularly adept at observing the nature of objects, and his bird and flower paintings have a corresponding life-likeness. He was the moving force behind the late Northern Sung painting academy, and his influence was very great. In terms of calligraphy, Emperor Hui-tsung developed a style of his own, which was called "slender gold script." This kind of calligraphy script developed from the style the T'ang calligrapher Hsueh Chi（647-713）. Hui-tsung was especially noted for his slender yet forceful brush strokes. In the twists and bends of the brush strokes in this work by Hui-tsung, we can notice traces of lifting and hesitation of the brush which resulted from the use of exposed and concealed brushwork. This is evident in all of his extant works, and it forms the basic structure of the slender gold style. For example, in doing a horizontal stroke, the brush is initially pointed and held at a slight tilt before it is actually executed. The end of the stroke in involves hesitating and leaving a dot as one of the distinguishing features of this style. This is the first leaf in the album Sung-jen fa-shu I, and it is composed of a seven- and five- character verse done in his famous "slender-gold" style. The delicate, tensile forms to the characters create for a tough, bony form that is also full of power and tension.
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